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Salve regina

author of text
Antiphon to the Virgin Mary from Trinity until Advent

In 1941, midway between the Lenten motets and Figure humaine, Poulenc composed Salve regina. It has a sustained calm, never deviates from a simple four-part texture, and perhaps most strikingly, in an understated work, uses up the final nineteen bars intoning only the words ‘dulcis Virgo Maria’—dans le style d’une complainte (an expression of grief, and perhaps still Poulenc’s grief at the Rocamadour shrine for his friend Ferroud?).

from notes by Meurig Bowen © 2008

En 1941, pile entre les motets de Carême et Figure humaine, Poulenc composa Salve regina. D’un calme soutenu, il ne s’écarte jamais d’une simple texture à quatre parties et, chose peut-être la plus surprenante pour une œuvre si discrète, épuise les dix-neuf dernières mesure à entonner les seuls mots «dulcis Virgo Maria»—dans le style d’une complainte (faut-il voir dans cette expression de chagrin la peine qu’éprouva Poulenc pour son ami Ferroud, à Rocamadour?).

extrait des notes rédigées par Meurig Bowen © 2008
Français: Hypérion

1941, halbwegs zwischen den Fasten-Motetten und Figure humaine, komponierte Poulenc Salve regina. Salve regina besitzt eine anhaltende Ruhe, weicht nie von einen simplen vierstimmigen Satz ab, und—wohl am bemerkenswertesten in einem bewusst schlicht gehaltenen Werk—intoniert in den letzten 19 Takten nur die Worte „dulcis Virgo Maria“ dans le style d’une complainte (ein Ausdruck der Trauer und womöglich Poulencs anhaltender Schmerz über den Tod seines Freundes Ferroud am Schrein von Rocamadour?).

aus dem Begleittext von Meurig Bowen © 2008
Deutsch: Renate Wendel


Langlais: Messe solennelle
SIGCD206Download only
Poulenc: Figure humaine & other choral works
SIGCD197Download only
Poulenc: Gloria & Motets
Poulenc: Mass & Motets


Track 7 on CDA67623 [4'44]
Track 20 on CDH55448 [4'47]
Track 7 on SIGCD197 [4'23] Download only
Track 14 on SIGCD206 [4'29] Download only

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